■tint? 



LIBRARY OF CONGRESS 



00012174515 




HARDANGERj> 
CBt GITTERTYL 

Art Emhrflttorfl 

BY 
MISS MARIE .KOCH 



if 




WW< 



PUBLISHED BY 

MILLER C& RHOADS 

RICHMOND, VIRGINIA 
U. S. A. 

IMPORTERS OF 

HARDANGER m GITTERTYL ART 

MATERIALS 




Hardanger & Gittertyl 



ART EMBROIDERY 



BY 



Miss MARIE KOCH 



I 



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W4W 



Published by MILLER & RHOADS 

RICHMOND, VIRGINIA 

Importers of Hardanger & Gittertyl 
Art Materials 









»1 



V 



LIBRARY Of CONGRESS 

Two Copies Received 

MAY 21 1904 

Copyright Entry 

CLASS CU XXo. No. 

S"xT 3 £ a 

COPY B I 



Entered according to the Act of Congress, in'the year 1904, by 

MILLER & RHOADS, 
In the Office of the Librarian of Congress, Washington, D. C. 

All Rights Reserved. 



Printed by 

Whittet & Shepperson, 

Richmond, Va. 



, - • • » , , . . . » 1 

• t • t •< • 

• > 1 



Hardanger Embroidery 

ON the banks of a little fiord (or river) in Western Nor- 
way — the land of the midnight sun — there nestles a 
beautiful little city called Hardanger (use the hard g, 
"Har-dang-er). 

This little town of Northern Europe has given a name to an 
embroidery that has spread over nearly all Europe, and also found 
its way to this country. 

Hardanger embroidery is, of course, new to most Americans ; 
but if you have ever travelled through Norway, Sweden or Den- 
mark, you will learn that almost every child knows what the work is. 

It is taught in the schools, and many a mother shows, with pride, 
sheets, pillow cases, centrepieces and scarfs of Hardanger work 
made by the hands of her young children. 

Accurate counting and careful cutting is required in Hardanger 
embroidery, consequently the eye of the child is trained to accu- 
racy — very helpful in other things. 

The national peasant costume in the city of Hardanger is a 
beautiful one. The richly colored dresses are trimmed with Har- 
danger embroidery, and the women of the city always wear a little 
apron with Hardanger insertion. 

Even on her bridal day a Hardanger maiden wears this apron, 
and on her head is placed a golden crown worn by her mother 
on her bridal day, and by maternal ancestors for generations pre- 
ceding her. 

There's scarcely a home in the little city in which you'll not 
find bed linen, curtains, counterpanes, scarfs, covers, etc., orna- 
mented with Hardanger work. 

Once you learn the principal stitches of this work, it will be 
found that many patterns can be made therefrom. 

Hardanger embroidery is simple and beautiful, and is recom- 
mended for its durability, and, unlike many other kinds of em- 
broidery, retains its beauty, no matter how often it is laundered. 

The work is done on scrim or canvas, which comes in different 
sizes or meshes. 

See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



Be careful in selecting your materials. Many people think any 
kind of scrim is suitable, but this is a mistake. 

Even in imported scrim the difference is noticeable, and often 
out of ten pieces received only one is suitable for real Hardanger 
embroidery. 

As the work is done both on the warp and woof of the material, 
the canvas must be very evenly woven, so that the embroidered 
blocks will form perfect squares. 

Dull white Estramadura Cotton in various sizes, according to 
the mesh of the canvas, and cream Marly Garn, are the best mate- 
rials for working the outline figures. 

Genuine linen thread is used for weaving the bars, and mer- 
cerized 'threads or silk is often used for the fancy figures or holes ; 
delicate colors are sometimes combined with the white or cream 
Estramadura Cotton. 

MATERIALS FOR HARDANGER WORK 

We show here the different sizes of Canvas for Hardanger 



work. 



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Figure A Figure B 

Figure A shows the Marly Canvas, sixty-seven inches wide. 
It is double-threaded, firm and evenly woven, and is suitable for 
large pieces, such as curtains, spreads, scarfs and table-covers. 

Cream Marly Garn is used for this size Canvas. 

Sec Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



Figure B is the Sultan Canvas, a finer mesh, forty-two inches 
wide. This requires No. 2 Estramadura Cotton, which fills the 
meshes nicely. 



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Figure C 



Figure D 



Figure C is the Camilla Canvas, forty-two inches wide. This 
is a very fine cream evenly woven canvas ; is adapted for centre- 
pieces, doilies, insertion, shirt-waists, etc. No. 3 Estramadura 
Cotton is best for this weave. 

Figure D shows the beautiful Hardanger Cloth, twenty-seven 
and fifty-eight inches wide, which was the first material ever used 
for this work. While it is more tedious, being a very fine, double- 
threaded material, one soon gets accustomed to count the threads. 
It is very adaptable for bed linen, insertions in sheets, pillow covers 
and towels, doilies, centrepieces and scarfs. White Estramadura 
Cotton, No. 4, is used on this cloth. 



See Price-List on pages 53 and 54. 



8 



HARDANGER EMBROIDERY. 




Figure E 



Figure E. — Blunt needles, in various sizes to suit cotton and 
silk used. Sharp-pointed scissors and a crochet hook for drawing 
threads are necessities for doing Hardanger work. 




Figure F 
Figure F. — Estramadura Cotton, white, Nos. 2, 3 and 4. 




Figure G 
Figure G. — Marly Garn, cream. 



See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



FASTENING THREADS. 

Never, in making this work, allow any knots to form when 
beginning a new thread. 

Run your thread carefully under several threads in the goods, 
then work ove- the same thread. Finish up your work by passing 
the thread through the stitches on the wrong side. 

Never bring your thread from one figure or block to another, 
as you may have to cut the figure threads in the canvas, and con- 
sequently cut your embroidery thread at the same time. 

Hardanger embroidery must be the same on both sides. 




••««•«■«•■■•* 






Figure i 

Illustrates the flat stitch, which is the principal stitch in Hardanger 
embroidery. It is the foundation of all patterns, and must always 
be made before any cutting is done. Begin at the top block, taking 
five stitches over four threads (five holes), side by side; be careful 
not to skip any holes. Bring your needle in las>t hole of the stitch ; 



See Price-List on pages 53 and 54. 



io HARDANGER EMBROIDERY, 

turn your work to the right, and make five stitches in horizontal 
lines side by side. Continue this till your square is finished, always 
making the last hole in each block the first of the next block.- 






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Figure 2. 

Having tested if all horizontal and vertical stitches are in perfect 
lines, begin cutting. The most important thing in Hardanger work 
is this : never cut sideways of a stitch, only at top and bottom, 
where the stitches form an edge. 

Cut four threads at the inside top of block, then the four oppo- 
site threads at the bottom block ; draw threads. Then cut your 
next block four threads, top and bottom ; draw threads. Turn 
your work, and cut the opposite sides in same manner. Figure 2 
shows the threads cut and drawn ready for work. 



Sec r rice- List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



1 1 




Figure 3 

Shows the darning or bar stitch, with picot, the latter being often 
left out and only the plain bar stitch used. This draws the four 
threads together which divide the open squares. 

It is made thus : bring your needle alternately over and under 
two threads, and draw tightly. The picot is made in the middle 
of each bar, and each picot must be the same size. A good way 
is to make a buttonhole loop around a heavy pin on either side of 
the bar. Use Genuine Linen Thread for this stitch. 



See Price-List on pages 53 and 34. 



i.»fC. 



12 



HARDANGER EMBROIDERY. 



Figure 4 

Illustrates the buttonhole stitch used on the edge of Hardanger 
embroidery, when scalloped. Work four buttonhole stitches over 
four threads side by side. In fifth hole work four stitches in same 
inside hole, turning the corner sharply on outer edge. Having 
made corner, work again, over four 'threads, four stitches side by 
side. Repeat this till your scallop is as large as desired. 






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Figure 5. 

This figure shows another pretty 'edge for Hardanger centre- 
pieces. It is worked over a heavy thread or cord to give it neces- 
sary weight. 

Take your first buttonhole stitch over three threads, work thir- 
teen stitches, each time dropping one hole at the top, increasing 
one hole at the bottom ; then go up thirteen stitches, increasing at 
the top, decreasing at the bottom. The thirteenth stitch is always 



See Price-List on pages 53 and 54. 



HARD ANGER EMBROIDERY. 13 



both first and last stitch in counting the thirteen. A very decorative 
loop is made at the same time you make the buttonhole stitch. In 
order to make all loops the same size, it is well to make them over 
a round pencil. 



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Figure 6. 

A beautiful edge, suitable for table covers or scarfs when 
hemmed. It is worked on cream Marly Canvas, with Marly Garn. 
As this material is coarse, it requires two stitches in each hole to 
fill the spaces. Begin by making one stitch over two threads (three 
holes), three stitches over four threads (five holes) ; again, one 
stitch over two threads. Repeat this along the border. The same 
method is used in the top border, having six threads between. 
These threads are cut thus : cut two threads, leave two threads ; 
this repeated. Threads are then drawn and woven with bar stitch, 
explained in Figure 3. 



See P rice-List on pages 53 and 54. 



14 



HARDANGER EMBROIDERY. 



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See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



Figure 7 

Illustrates another handsome border for table covers, scarfs, etc. 
It is fourteen threads wide, and worked in satin stitch over two 
threads (three holes). The cross is worked like Figure 1, with 
the exception of using only two threads (the material being coarse). 
The oblong figure is commenced in the last hole of the side block 
in the cross, this same block, being the beginning of the oblong- 
figure. In working the satin stitch in the centre, begin in the 
middle with one stitch over six threads, next stitch over four threads 
(dropping one thread at top and bottom), next stitch over two 
threads ; this repeated on each side. 

Figure 8 

Shows a very substantial border. It is worked entirely in flat stitch 
over two, four, six and eight threads. The centre stitches should 
be worked in twisted silk to give a raised effect. 



Figure 9. 

Very dainty border, which is especially pretty for doilies and 
small centrepieces. It should always be worked on very fine canvas. 

Work first two rows of flat stitch side by side over four threads. 
Have six threads between the two rows. Now, cut six threads 
and leave four threads ; continue this all along the border. 

Instead of weaving the bars, as in Figure 3, part the four 
threads and whip over two threads carefully and evenly ; then over 
the next two threads; continue thus (using linen thread). At last 
work four buttonhole stitches, which form a little cross, in the 
largest space between bars. 



See Price-List on pages 53 and 54. 



i6 



HARDANGER EMBROIDERY. 



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Figure io 

Shows a beautiful eight-pointed star, which can be used in con- 
nection with many patterns. It is very effective on shirt-waist 
fronts in making bands of stars. This design takes in thirty threads 
(thirty-one holes). Get the central hole of the square by measur- 
ing accurately ; then count seven threads up from there, and take 
the first stitch over one thread ; second stitc'h to the right over two 
threads, adding always at the top. The third stitch over three 
threads, and continue thus until your eighth stitch is over eight 
threads. Now turn the work to your left, bringing your needle 
in the last bottom hole, and count eight threads up. Make eight 
stitches, decreasing each stitch until your eighth stitch is over one 



See P rice-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 17 

thread ; then increase until yon have eight threads again. Repeat 
all around the figure. Begin cutting in right-hand corner. Cut 
three threads, leave two threads ; cut four threads, leave two ; cut 
three threads. 

Repeat this method on all four sides of the square, then draw 
the threads. Use bar stitch with picot as in Figure 3. Now make 
a cross in each hole, twisting the thread firmly. 






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Shows a beautiful medallion worked over twenty-two threads. 
Begin the outer edge, working over two threads, turning at right 
angles, twelve stitches on each side of square. Then begin inside 
row, likewise working over two threads, ten stitches on each side 
of square. Xow work the satin stitch, forming a square of seven 
stitches on each side ; cut the threads, leaving two threads in centre 
of each side. Weave bars and put in a little cross in the open 
squares. 

Sec Price-List on pages 53 and 54. 



18 HARDANGER EMBROIDERY. 




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Figure 12. 

A very pretty medallion is shown in this figure. It takes in 
forty-six threads (forty-seven holes), and is worked in flat stitch. 
Begin in left-hand corner of figure, making the first stitch over two 
threads, second stitch over four threads (adding one at top and 
bottom). Third stitch over six threads, and fourth over eight 
threads. Bring your needle two threads down from the top of last 
stitch ; work three stitches over three threads ; next, three over 
six threads ; next, three over nine threads. Then three over six 
threads, and three over three threads. Turn at left angle and repeat 
same figure on all sides. The space between the flat stitch is worked 
in half cross stitches, two rows of seven stitches. The centre is 
formed by a double cross stitc'h over four threads. 



See Price-Li st on pages 53 and 54. 



HARDANGER EMBROIDERY. 



19 



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Figure 13. 

This very artistic centrepiece is worked on Marly Canvas with 
Marly Garn. Cut your goods thirty inches square, which allows 
for a nice hem. 

The pattern covers one hundred and ninety threads. Be sure 
and get your right centre — counting from there ninety-five threads 
to all four sides ; then turn your hem and baste it all around. Now 
put in the outer edge, having fourteen threads margin outside the 
edge. Work this border like described in Figure 6. 

Next, work medallions (see Figure 11), six on each side, one 



See Price-List on pages 53 and 54. 



20 HARDANGER EMBROIDERY. 

in each corner, making twenty-eight medallions. Next, put in 
border above the medallions, like the bottom border. The centre 
cross is easily counted ; after that the 'four large medallions are 
worked, each containing forty-two threads (forty-three holes). 
(Materials: Thirty inches Marly Canvas, one dozen Marly Garn.) 



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Figure 14 

Illustrates a very effective, all-over embroidered, sideboard or 
bureau scarf worked on cream Marly Canvas with Marly Garn. 
It is a handsome design, and not tedious. The pattern covers one 
hundred and eight threads, without the hem, the latter being ten 
threads in width. First, make the straight outer edge, working 
over four threads side by side. Then put in cross bars, five stitches 
over two threads (see Figure 1). Count your threads across from 
edge to edge (which must be one hundred). Find the exact middle, 
and work the four medallions like described in Figure 10. The 



' 



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See Price-List on pages 53 and 54. 



HARD ANGER EMBROIDERY. 21 



narrow bands are worked in three half-cross stitches over one 
thread, side by side. (Materials: One-half yard Marly Canvas, 
one and a half dozen Marly Garn.) 



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Figure 15. 

This beautiful centrepiece is very easy, yet effective. It is 
worked on Sultan Canvas, with white Perlegarn and pink Olympia 
Thread. It is twenty-eight inches square ; but allow one inch 
on each side in working the scallop. Beginning in the centre of 
the edge, work seven medallions on each side of square, as shown 



See P rice-List on pages ±3 and 54. 



HARDANGER EMBROIDERY. 



in Figure 12. These are worked in pink Olympia. Sixteen threads 
above, in line with the first medallions, work five half medallions. 
Then put in the dividing bands, which consist of repeated sections 
of flat stitch, made in little pyramids of six stitches, the first over 
three threads, the last over eight threads, increasing one thread 
each time. Use white Perlegarn. The open squares are filled in 
with cross stitches of pink floss. (Materials: Thirty inches Sultan 
Canvas, six skeins white Perlegarn, one dozen pink Olympia.) 



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Figure 16. 

One of the handsomest centrepieces is shown in this illustration. 
It is embroidered on fine Camilla Canvas, in white Estramadura 
Cotton, No. 4, and cream Mt. Mellick Silk, F. F. Cut three- 
SVc Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 23 

quarters of a yard of canvas to give you enough margin on the 
outside. The border is one hundred and eighty-eight threads wide. 
Be very careful in counting the fine meshes ; begin in the exact 
middle of border, working towards the corners. The flat stitch, 
outlines, medallions and scallops are worked in white Estramadura 
Cotton ; the bar stitch and little figures outside the medallions are 
worked in Alt. Mellick Silk, F. F. 

(Materials: Three-quarters of a yard Camilla Canvas; one 
dozen white Estramadura Cotton, No. 4 ; one and a half dozen 
Mt. Mellick Silk, F. R, white.) 



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Figure 17. 

This illustrates a handsome border for curtains or bedspreads. 
It is worked on Marly Canvas with white Estramadura Cotton, 
Xo. 2. 

The pattern is one hundred and three threads wide, including 
the outer edge. The medallion is sixty-eight threads in diameter ; 
the inside square is twenty-one threads wide. The design can be 
repeated any length desired, and it is especially pretty for curtains. 

See P rice-List on pages 53 and 54. 



HARDANGER EMBROIDERY 



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Figure 18. 

The beautiful table cover illustrated here is worked on Marly 
Canvas, with white Estramadura Cotton, No. 2. It is thirty-six 
inches square, allowing for a hem. 

The border is described in Figure 7, and covers fourteen 
threads. The cross in the corners is sixty-two threads wide, and 
easily worked by the illustration. The medallion between the 

See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



crosses must be sixty-two threads long* and forty-six threads wide. 
Work all stitches in this cover, going twice in each hole. (Mate- 
rials : One yard Marly Canvas ; one dozen white Estramadnra 
Cotton, No. 2.) 





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Figure 19. 

This handsome design illustrates a corner of a very elegant 
sideboard scarf. It is worked on three sides only ; the one side 
being neatly hemmed. The material in this scarf is the real Har- 
danger Cloth (see Figure d) . After the corner is made, the sec- 
tions can be repeated any length you wish to make the scarf. The 
border is one hundred and ninety-three threads wide. All outline 
figures and straight bands are worked with Estramadnra Cotton, 



See Price-List on pages 53 and 54. 



26 HARDANGER EMBROIDERY. 

No. 4. Bar stitches are woven with Linen Thread, No. 3. Fancy 
figures are worked with white Perlegarn, No. 2. 

Hand-made Torchon Lace makes a very effective finish to this 
scarf. Materials for this particular length scarf : One yard and a 
half white Hardanger Cloth ; two dozen Estramadura Cotton, No. 4;. 
one dozen Linen Thread, No. 3 ; one dozen Perlegarn, No. 2. 





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Figure 20. 

Illustrates a border, suitable for towels, top of sheets, serving tables,, 
etc. The design is in old ghotisk style, representing birds, leaves- 
and stems. Real Hardanger Cloth is used, together with white 
Estramadura Cotton, No. 3, and Linen Thread, No. 2. Instead 
of darning the bars, these are whipped over and over evenly with 
linen thread, and a little cross put in every other open space. The 
eye of bird is darned with three threads from each side. 

All outlining is made with Estramadura Cotton in flat stitch ;. 
the outer edge is buttonholed closely, then cut out. The design is 
repeated and made as long as desired. 

See Price-List on pages 53 and 54. 



IIARDANGER EMBROIDERY. 



27 




Mttittitnttt. 

MMMIHIIMII 



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Figure 21 

An exquisite insertion pattern is shown in this illustration. 
Same can be used as scarf or tidy by adding a hand-made Torchon 
lace to the edge. The pattern takes in two hundred and eighteen 
threads in width. 

It is always best to measure the length of goods first. After 
getting the exact middle, count the threads in one of the medallions, 
and make the centre of medallion in the middle of the goods. Each 



Sec P rice-List on pages 53 and 54. 



HARDANGER EMBROIDERY 



medallion is one hundred and eight threads in diameter ; a space 
of four threads on each side of the medallions between it and the 
outside border. The latter consists of fifty-one. threads ; eleven 
threads are cut away and drawn together in the middle ; the bands 
on each side of the open centre contains fourteen threads, and the 
pyramid on the outside is thirteen threads wide at the points, de- 
creasing the stitches on each side, the shortest stitch being over 
three threads. White Estramadura Cotton, No. 3, is used for all 
flat stitches ; Linen Thread, No. 3, for working bar stitches and 
picots. It is embroidered on real Hardanger Cloth. The design 
seems very difficult, but we have given the exact counting of 
threads, which will enable you to work the piece without difficulty. 




- - V 



Figure 22. 
An exquisite specimen of "Punto Tagliato" is here illustrated. 
This beautiful centrepiece is worked on Cardosa Canvas with white, 
brown and gold-colored Silk. This piece can be had stamped, or 
it can be embroidered by very careful counting. All stems are 
worked in brown ; the flowers and leaves in five shades of gold- 
colored Roman Floss. The band, twining between the flowers and 
forming the corner, is worked in flat stitch, four stitches over six 
threads (as plainly shown in this half-tone). This band is worked 
in white Roman Floss, outlined with gold-colored Floss, No. 2637. 



See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



20 



(Materials: Three-quarters of a yard Cardosa Canvas; one 
dozen white Roman Floss, 2002, two dozen brown 2166, six skeins 
2635, six skeins 2636, six skeins 2637, six skeins 2638, six skeins 
2639 Roman Floss.) 



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Figure 23. 

This beautiful ivy-leaf design can be used for doilies, centre- 
pieces or cushion tops. It is worked on Congress Canvas with 
white Estramadura Cotton, No. 3, which forms all outlines. Linen 
thread, Xo. 3, for the open bar stitches, and white Roman Floss 
for filling of the leaves. The border is one hundred and sixty-four 
threads wide. All flat stitches are worked over four threads, and 
four threads are cut all through the design and woven with Linen 
Thread in bar stitch (see Figure 3). This design is especially 
beautiful as an ornament for highly polished tables, as the whole 
background is open, showing the leaves distinctly. 

(Materials: Three-quarters of a yard Congress Canvas; six 
skeins Linen Thread, Xo. 3 ; one dozen white Roman Floss, X T o. 
2002. 



See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 




Figure 24. 
The 'handsome centrepiece shown, partly finished, in this illus- 
tration is one of the richest designs ever made. It differs from the 
regular Hardanger embroidery in being worked entirely in silk — 
white and pale purple on Cardosa Canvas. This piece of work can 
be classified with 'the old Italian embroidery, "Punto Tagliato." 
Three-quarters of a yard of Canvas is enough for this centrepiece, 



See PHce-List on pages 53 and 54- 



HARDANGER EMBROIDERY. 31 

including the hem. The illustration is so perfect that there is no 
necessity for mentioning the amount of threads. They are easily 
counted. 

The open drawn work adds greatly to the beauty of the design, 
and the tulips and leaves, worked in flat stitch, form a charming 
contrast to the open work. One only has a slight conception of 
the beauty of this piece until the finished work is seen. The centre 
drawn work will then form a cross, which corresponds with the 
points of drawn work along flu border. The outside edge is de- 
scribed in Figure 8. 

( Materials : Three-quarters of a yard Cardosa Canvas ; four 
dozen white Mt. Mellick Silk, F. F. ; one dozen pale purple Roman 
Floss.) 



m 



Figure 25. 
Illustrates a very pretty centrepiece in Persian effect. It is three- 
quartei s of a yard square, with one inch and a half hem, and worked 

See Price-List on pages 53 and 54. 



32 HARDANGER EMBROIDERY. 

on Sultan Canvas in three shades of green, two shades of old rose,. 
Peri-Lusta Stout, Embroidery Cotton. It is worked in a satin 
stitch, over and over. All leaves and stems are worked in the 
shades of green and the bow knot in old rose. The drawn work 
is made with linen thread, tying four threads together in two rows. 
The coloring is very dainty, and it does not take long to embroider 
this piece. It is well to begin this design in the centre and work 
toward the corner. 

(Materials : Three-quarters of a yard Sultan Canvas ; two dozen 
green Peri-Lusta Stout (three shades) ; six skeins old rose Peri- 
Lusta Stout (two shades) ; two skeins Linen Thread, No. 3.) 



Figure 26 

Shows a beautiful insertion pattern, desirable for trimming on 
shirt-waists, collars and cuffs, etc. This pattern is fifty-two threads 
wide, and is worked or Congress Canvas in white Estramadura 
Cotton, No. 4, and Genuine Linen Thread, No. 3. The little round 
holes, worked on both sides of the medallions, are made with linen 
thread. No threads are cut in making these holes. Same are 
worked over four threads, thus : Beginning in left-hand corner, 
bring your needle in the correct centre, and work over two threads, 
from the centre, all around the square, drawing the thread firmly. 
Use linen thread. 



Figure 27 

A very artistic stock collar is shown in this illustration. The 
cloth is cut on bias, and the collar and tab worked in one piece. 
This illustration is so clear that each thread is easily counted. Con- 
gress Canvas is used, worked with white Estramadura Cotton, 
No. 4, and Linen Thread, No. 3. The collar is buttonholed all 
around, and then cut out close to the buttonhole edge. 



See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY 



33 




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Figure 27 



34 



HARDANGER EMBROIDERY. 



I 



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Figure 28 

A handsome stand cover is partly shown in this illustration. 
As it is worked on Marly Canvas, with cream Marly Garn and 
blue Olympia, it is very rapid and effective. Work first the outer 
edge in flat stitch with Marly Garn. Then work a row of cross 
stitches, with blue Olympia, inside the flat stitch. The outline of 
the medallions are worked in cross stitches with blue, the centre 
cut out and woven with Marly Garn in bar stitch. Fifty threads 
from the outer edge, work a corresponding border. Each cross 
stitch is sewed over two threads, forming a square. This illustra- 
tion is so clear that even a child can work by it. 

(Materials: One yard Marly Canvas; one dozen blue Olympia 
Cotton; one-half dozen cream Marly Garn.) 

See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 




z*a •>* &•& i*t. s^s £** <ju a»* •<•:• **» * <r ^ - 

^*'*fti. ^ft >5» »*5* *?^. *">. «Sv ^K ii*. a" vV- 

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;& >~ ?* -<* £'? £* £*•* -*►* A &K *-► 

i? V*>' A> *► ^ ^ v ***** V 



Figure 29. 
Illustrates an exquisite centrepiece, worked on Congress Canvas 
with pale blue Peri-Lusta Stout and white Mt Mellick Silk, G. 
It is a difficult piece, but very handsome. Cut three-quarters of a 
yard of canvas, which gives you a sufficient margin. All outlines 
in the medallions are worked in pale blue. Bar stitches, filling 
stitches and outer buttonhole edge of the medallions are worked 
in white Mt. Mellick Silk. Having worked all medallions, begin 
cutting the threads for the open work. Be very careful, as some 
of the threads are cut en bias. You see now the necessity of button- 
holing each medallion all around ; it protects and holds in place all 
threads cut on bias. Always cut six threads and leave six threads ; 
then draw threads. Now put in the drawn work. Work first all 
vertical and horizontal lines, tying the six threads of the goods 



See Price-List on pages 53 and 54. 



36 HARDHANGER EMBROIDERY. 

each time. Then work the diagonal lines, this time tying the silk 
threads and making a cross in each little block. All this drawn 
work is made with white Mt. Mellick Silk, G. 

(Materials: Three-quarters of a yard Congress Canvas; one 
dozen blue Peri-Lusta Stout 



Figure 30 

Illustrates a handsome shirt-waist in Hardanger Embroidery. The 
pattern is explained in Figure 17. Various patterns, in strips or 
medallions, can be made effectively on shirt-waists as well as on 
skirts. 

Entire Hardanger dresses are very handsome, and if purchased 
already embroidered, would be very costly. 

In studying this book, with its various illustrations, a lover of 
art needlework can easily make up patterns for dresses, and, with 
little expense, have a handsome Hardanger gown. 

(Material for shirt-waist: Two yards of Congress Canvas; six 
skeins white Estramadura Cotton; two skeins Genuine Linen 
Thread, No. 3. 



See Price-List on pages 53 and 54. 



HARDANGER EMBROIDERY. 



o/ 




Gittertyl Embroidery 

Great interest has arisen all over Europe in this very effective 
work. Owing to the beautifully woven material, "Gittertyl Filet," 
this beautifully simple embroidery has won many admirers. 

It is rapid and easy, and has almost the same effect as the 
very difficult, but artistic, "Filetguipure." The goods comes in 
different size meshes, in cream and white, and can also be had in 
blue and green. Being sixty-nine inches wide, it is suitable for 
large pieces of work, such as curtains, draperies, bedspreads and 
dresses; it also makes handsome centrepieces, scarfs, door panels, 
shirt-waists, etc. 

Perlegarn is used for Gittertyl work, being tightly twisted, 
highly mercerized, it has the appearance of silk when worked. 
These materials are all made ih Germany, but can be retailed in this 
country at very reasonable prices. 

This work can be made either by counting the meshes or by 
having an accurately-drawn design basted carefully under the 
goods, then, following the lines, weave the threads. 

Use a long, blunt needle for Gittertyl work; be careful not to 
draw threads too tightly. 

The method is simple ; the threads are darned or woven on 
bias or straight lines, and a beautiful effect can be had in either 
floral or conventional designs. 



See Price-List on pages 53 and 54. 



GITTERTYL EMBROIDERY 



39 




■ttff 

SSI 

sss 



--"■■■■•»«- 

ma. M Mgk 







:::: 

ltBttMiilllSB«ISttB»fflttfl«BlHI 



Figure 31 

Shows the darning stitch single. Bring your needle over one 
thread, under the next. Two rows of stitches, alternately over and 
under, in each hole. 



■•■*■■■«■•■! 




Figure 32 

Is worked in like manner, only bring your needle over two threads 
and under one thread. Two rows alternately in each hole. 



See Price-List on pages 53 and 54. 



40 



GITTERTYL EMBROIDERY. 




Figure 33. 

This pique darning stitch is worked with fine Perlegarn, bring- 
ing the needle over one thread and under one thread. Five rows 
in each hole. 



ii8L ?:::?:::::*:: 

ilBaaBlaaa*'' w 

■a saaaar |?, 



Figure 34. 

A very good effect is given in Illustration 34. Use same method 
in darning the meshes, only work the threads in bias lines, two 
rows in each hole. This same stitch can be made effectively in 
going over two threads and under one thread. 




See Price-List on pages 53 and 54. 






GITTERTYL EMBROIDERY. 41 







Figure 35. 

This beautiful bow-knot is worked on fine Gittertyl material 
with No. 2 Perlegarn. 

It is suitable for bands on dresses, collar and cuffs, etc. Cut 
your goods thirty holes in width, turn over three holes on each 
side for hem. Put in border and begin bow-knot in left-hand 
corner, bringing the needle in third hole of fourth row from border. 
Count meshes like illustration shows, using single darning stitch, 
going twice in each hole (see Figure 31). 

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::.■:::::::• ::::;:::::„ •!.::!■.«.; HU s.asgS' ::::!:«! • ■«::•«.• ■:?. •:«!::.".. •!:;::!: 
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Figure 36 

Shows a handsome design, which can be used in strips for dresses, 
borders for curtains, etc. Have width of strip forty-five holes. 
Begin in the middle of figure and work to both sides in single 
darning stitch. 

Work flower, leaves and border with Perlegarn, No. 2 ; scroll 
with Perlegarn, No. 1. 

Sec Price-List on pages 53 and 54. 



42 GITTERTYL EMBROIDERY 







'" :: Sit!?*' *•• '*' "!!!«•• "!J!SSSj»»»5SSSSI»!II!IJSS '«*«•!«! ;e '. -i '""::: :::::; 

:■!-• jkk: ..i::j: ,,: '«!K."««::s:"iSM£L.. wsi J::::? : ^:::sr :s |HHv : K:::i.. sir: 

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Figure 37 

Illustrates a beautiful design suitable for Gittertyl shirt-waists. 
The band is sixty-one threads in width, and worked like Figure 31. 
This band is used in front of the shirt-waist; the medallions are 
scattered on each side 01 the band, and at the top and bottom of 
the sleeve. The same design can be used effectively in bands on 
the skirt, and it looks elegant over green, blue or white silk. 



Sec Price-List on pages 53 and 54. 



GITTERTYL EMBROIDERY 



43 




Figure 38. 

This Marguerite centrepiece (partly shown in this illustration) 
is very effective and quickly worked. Cut your goods two hundred 
and twenty- four threads in diameter (adding two inches on all 
sides for hem). Begin in one corner and use single darning stitch, 
going twice in each hole, in all flowers and stems. This pattern 
can also be used as a sofa pillow design, using only the one corner. 

(Materials for centrepiece: One yard of coarse Gittertyl Can- 
vas ; three dozen Perlegarn, No. 2. 



See Price-List on pages 53 and 54. 



44 



GITTERTYL EMBROIDERY. 



' •■," , ■■■ . ' J . , ' ■:■■■■■■.. .■-;;;,:! 



, 




Figure 39 



GITTERTYL EMBROIDERY. 45 



Figure 39 

This handsome curtain is made on fine Gittertyl Filet with 
Perlegarn, No. 1 and No. 2. As the actual size of the curtain is 
two yards wide and three and a half yards long, the reproduction 
on the opposite page is necessarily greatly reduced ; consequently 
the meshes cannot be counted from the illustration, but we can sell 
you the same design stamped on cambric to baste under the Gittertyl 
Filet. The pattern is then woven, following the under lines. This 
is a great deal easier, as no counting is required at all. The single 
darning stitch (explained in Figure 31), for stems and small 
flowers. Work leaves and large flowers like Illustration 32. The 
stamped design is sixty-two inches wide, two and a half yards 
long ; it takes in the entire width of the goods, and is a very stylish 
and elegant design. Work lilies and leaves in Perlegarn, No. 1 ; 
stems and scroll in Perlegarn, No. 2. 

(Materials for one curtain: Three and a half yards of fine 
Gittertyl Filet ; four dozen Perlegarn, No. 1 ; two dozen Perlegarn, 
No. 2; stamped design on cambric, $1.50.) 



See Price-List on pages 53 and 54. 



46 GITTERTYL EMBROIDERY. 




Figure 40. 

Illustrates a very handsome rose centrepiece. This is a showy 
piece, with very little work ; only one-fourth of it is shown in 
this illustration, but each corner forms a rose. It is best to measure 
the piece and get the exact centre ; from there work cross lines 
and little flowers. After having worked the centre, you can easily 
count the threads from there to the edge on each side, and lastly 
work the rose in the corner. The method used in this piece is 
an over and over stitch instead of darning. The outer edge is 
buttonholed closely and carefully cut out. 

(Materials: Thirty-two-inch coarse Gittertyl Filet (cream);, 
three dozen white Perlegarn, No. 1.) 

See Price-List on pages 53 and 54. 



GITTERTYL EMBROIDERY. 



47 




': :■: ::: : : :".:.:: . - •■ ■ . ■■■■■::-.■; ..■' . ;■':;','.:; 



. • ::i|ll!lll!ii:.!:'ii : ;iii ;r : ■;'■ ■:i:iliij '••"•••:; 









r 



Figure 41 
Illustrates the rose centrepiece finished. It is shown partly finished 
and described in Figure 36, but only the piece completed gives you 
an idea of its beauty and simplicity. 

It can be worked in cream or white Gittertyl Filet, with Perle- 



crarn, Xo. 1. or Olvmpia Cotton. 



See Price-List on pages S3 and 54- 



4 8 



GITTERTYL EMBROIDERY. 







FlGURE 42 



GITTERTYL EMBROIDERY. 49 



Figure 42 

Illustrates a beautiful shirt-waist front embroidered on fine Gittertyl 
Filet. Cut the front of waist and begin work from the centre of 
the goods, placing the designs at same distance from each other. 
Follow direction in Figure 36. Part of this design can be used 
on the collar and on the cuffs, and the waist can be worn over any 
color silk. 

(Materials for waist: One and a half yards of Gittertyl Filet; 
two dozen Perlegarn, Nos. 1 and 2.) 



See Priee-List on pages S3 and 54. 



5o 



GITTERTYL EMBROIDERY 




No. 5 



No. 6 



No. 



No. 10 



Figure H. 
Linen Battenberg Braid. 
Two cents a yard, or 25c. for a piece of 36 yards. 



See Price-List on pages 53 and 54. 



GITTERTYL EMBROIDERY. 



5i 



Figure I. 
Shirt Waist Linen, 36 inches wide, 39c. 

Figure J. 
Shirt Waist Linen, 36 inches wide, 50c. 
Shirt Waist Linen, 45 inches wide, 69c. 



Figure I 



Figure J 




Figure K Figure L 

Figure K. 
Old Bleach Linen, 36 inches wide, 59c. 
Old Bleach Linen, 45 inches wide, 79c. 

Figure L. 
Old Bleach Linen, 36 inches wide, 75c. 
Old Bleach Linen, 45 inches wide, $1.00 



52 



GITTERTYL EMBROIDERY. 




No 440 



No. 290 No. 11 



Eagles, in Red, White, Black, Navy and Light Blue, embroidered 
in Silk, 25c. each. 

Bars, in Red and White, embroidered in Silk, 10c. each. 

Stars, in Red, White, Navy and Light Blue, embroidered in Silk, 
ioc. and i2-|c. each. 

Anchors, in Red, White, Black, Navy and Light Blue, ioc. each. 

Initials — No. 440 on Satin Damask, 8c. each, 80c. doz. 
No. 290 on Linen, 5c. each, 50c. doz. 
No. 11 on Linen, 3c. each, 30c. doz. 



See Price-List on pages 53 and 54- 



PRICE-LISTS 

PRICE-LIST OF HARDANGER AND GITTERTYL 
MATERIALS 

Imported Marly Canvas, cream, 67 inches wide, $1.00 per yard. 

Sultan Canvas, cream, 42 inches wide, 1.00 

Congress Canvas, cream, 42 inches wide, 1.00 

Cardosa Canvas, ecru, 42 inches wide, 1.25 

Real Hardanger Cloth, white, 58 inches wide, 1.50 

" " " 27 inches wide, 75 

Gittertyl Filet, white and cream, coarse weave, 67 in. wide, $1.00 yd. 
" fine weave, 67 in. wide,. . 1.00 " 

PRICE-LIST OF EMBROIDERY COTTONS 

Imported Estramadura Cotton, White, Nos. 2, 3, 4, 5c. skein, or 50c. doz. skeins. 

Marly Garn, cream, 5c. " or 50c. 

Perlegarn, white, Nos. 1 and 2, 4c. " or 40c. 

Peri Lusta Stout, all colors, 4c. or 40c. 

Olympia Cotton, all colors, 4c. or 40c. 

Genuine Linen Thread, Nos. 2, 3, 4, 5, 5c. " or 50c. 

Harper's Blunt Needles, all sizes, ic. each, or 10c. paper. 

Imported Mercerized D. M. C. Cotton, white and colored, 3c. skein, or 

30c. doz. skeins. 
Peri Lusta Cotton, white, Nos. A, B, C, D, E, F, 4c. skein, or 40c. doz. skeins. 

PRICE-LIST OF ART LINENS 

Uomestic Scrim, for cross stitch, white and cream, 42 inches wide, 50c. yard. 

42 inches wide, 25c. 

Tricot Canvas, red, blue, green and tan, for cross stitch embroidery, 67 inches 

wide, $1.00 yard. 
Tricot Canvas, for cross stitch embroidery, white, 28 inches wide. 50c. yard 

Checked Mosaic Canvas, for pillows, 40 inches wide, $1.50 " 

Old Bleach Linen, 36 inches wide, 59c. and .75 

45 inches wide, 79c. " 1.00 " 

54 inches wide, $1.00 " 1.25 

Round Thread Art Linen, 36 inches wide, 50 " 

" 45 inches wide, 69 

54 inches wide, 89 

Butcher Linen, 38 inches wide, 39 

" 40 inches wide, 50 

PRICE-LIST OF COMMENCED AND FINISHED HARDAN- 
GER AND GITTERTYL EMBROIDERY 

Figure 13. Marly Centrepiece, finished, $10.00 

14. Marly Scarf, commenced (with materials), 4.00 

15. Sultan Centrepiece, finished, 4.00 



54 



PRICE-LISTS. 



Figure 



16. 

17- 
18. 
20. 
22. 
23. 
24. 

25- 
27. 
28. 
29. 

30. 
35- 
36. 
37- 
38. 

39- 
40. 
41. 



Congress Centrepiece, commenced (with materials). 
Section for curtain border, 



" ), • 

" ),- 

" ), • 

" ),. 

(with materials), 



work, commenced 



Marly Table Cover, " ( 

Ghotisk Cover, ( 

Punto Tagliato Centrepiece, ■' ( 

Camilla Centrepiece, ( 

Punto Tagliato Centrepiece, " ( 

Bow-Knot Centrepiece, commenced 

Stock Collar (finished), 

Marly Table Cover, " ( 

Congress Centrepiece, with drawn 
(with materials), $8.00. 

Hardanger Shirt Waist, . 

Gittertyl Bow-Knot Design, 

Insertion Design, 

Insertion Design, 

Marguerite Centrepiece, commenced (with ma- 
terials), $3.00. 

Curtain, finished, 

Rose Centrepiece, commenced (with materials), 

Rose Centrepiece, finished, 



4-9& 
2.00 

3.98 
4.00 
5-oa 

3.98 
5-00 
4.00 
3.00 
3-9& 



9.00 

.98 

1.25 

175 



35-0O 
2.50 
5.00 



PRICE-LIST OF EMBROIDERY SILKS 
Brainerd and Armstrong's Wash Silk. 
Filo Silk, 1 



y 



4c. skein, or 4CC. dozen. 



Twist .Silk, 

Roman Floss, 

Caspian Floss, 

Mt. Mellick Silk, j 

Crochet and Knitting Silk, 25c. and 35c. spool. 



Belding (New Process) Wash Silk. 
Filo Silk, ) ' . . , 

Twist Silk, j 4C - skem ' or 40c - doz - 

Grip-tyte Nickel Embroidery Hoops, with spring, all sizes, 10c. each. 

PRICE-LIST OF WOOLS 

Columbia 4 and 8-fold Germantown, 20c. hk., or $1.67 lb. 

Shetland Floss, 19c " or 1.25 " 

Shetland Wool, 19c " or 1.25 " 

Knitting Yarn, 35c. " or 1.25 " 

Eiderdown Wool, 35c. ball, or 2.75 " 

Golden Fleece, 4- fold Germantown, 10c. hk., or $1.40 lb. 

Shetland Floss, 10c. " or 1.10 " 

Saxony Wool, 8c. " or 1.40 " 

German Knitting Yarn, 30c. " or 1.10 " 

Spanish Yarn, 20c. " or 1.50 " 

Ice Wool, 18c. ball, or 2.75 " 

2 and 4-fold Zephyr, 5c. lap, or 1.80 " 

Imported Fornordisk Wool, 5c. skein, or 50c. doz. skeins. 

Columbia Knitting Books, latest edition, 15c. 

Cross-Stitch Books, 10, 15, 20c. each. 

Queen Slipper Soles, Children's, 19c- 

Ladies', 25c. 

Gentlemen's, 35c. 



Postage Required on Mail Orders. 

This is not a price-list of materials, but is intended 
as a guide in ordering by mail. When you order, 
please include postage at the following rates: 



Canvas, Scrim, Mt. Mellick Cloth, or Linen, per yard, . . 10 cts. 

Stamped Centre-pieces, 6 cts. 

Commenced Centre-pieces, with materials, 10 cts. 

Dozen skeins Embroidery Silk, 



3 cts. 
Dozen skeins Embroidery Cotton, 

Marly Garn, or Estramadura Cotton, per dozen, ..... 6 cts. 

{Germantown, "v 
Shetland Floss, V 3 cts. hank ; 20 cts. lb. 
Shetland Wool, J 

Columbia Knitting Yarn, 5 cts. hank; 20 cts. lb. 

Eiderdown Wool, 5 cts. ball; 20 cts. lb. 

{Germantown, ^ 
Shetland Floss, > 2 cts. hank; 20 cts. lb. 
Saxony Wool, J 

Germantown Knitting Yarn, 6 cts. hank ; 20 cts. lb. 

Spanish Yarn, 3 cts. hank; 20 cts. lb. 

Ice Wool, 3 cts. ball; 20 cts. lb. 

Zephyrs, 1 ct. lap ; 20 cts. lb. 

Linen Battenberg Braid, per piece of three dozen yards, . . 2 cts. 



MAY 21 1904 



PYROGRAPHIC 

OUTFITS AND MATERIALS. 

Outfit for beginners, $1.00 

Larger Outfits, $3.50, $4.00, $5.00, $6.00 

Separate Pelican Platinum Points, . . 98 cts., $1.50, $2.00, $3.00 

Stamped Basswood Frames, 15 cts., 20 cts., 25 cts., 29 cts., 35 cts. 

Handkerchief and Glove Boxes, . . . 25 cts. 

Book Racks, 25 cts., 50 cts., $1.00 

" " Plaques, all sizes, 10 cts. to $1.00 

Sheepskins and Calfskins for Pyrographic Work in Green, 
Tan, Red, Brown, and Gray : 

Sheepskins, each, $1 .25 

Calfskins, $2.00, $2.50 



LIBRARY OF CONGRESS 




001 217 451 2 # 



Columbia 
Yarns 




TRADt MARK HE0JSTCRK1 



For 30 Years 

the Standard of Excellence 

Imitated by All 
Excelled by None 



COMMON SENSE 

Yarns are a means, not an end. 

You wish to make some soft, dainty thing, with 
delicate, pleasing colors. 

Common yarns will not do it. 

Of course, you can use them ; you save a few 
cents on the yarn, but you lose in your finished 
garment what money cannot buy— taste and beauty. 

COLUMBIA Yarns are what you need. 

They will not waste your time. They will save 
you disappointments. 



